Recorder Home Page

Interpretation

Compiled by Nicholas S. Lander

General References

• Brown, H.M. & S. Sadie (1989). Performance Practice. Music Before 1600. Norton, New York &am; London. ISBN 0-393 02807-0.
• Burton, A. ed. (2002). A Performer's Guide to Music of the Baroque Period. Book & CD. Associated Board of the Royal Schools of Music, London. ISBN 9781860961922.
• Butt, J. (2002). Playing with History: The Historical Approach to Musical Performance (Musical Performance and Reception). Cambridge University Press, UK. ISBN-10: 0521013585, ISBN-13: 978-0521013581
• Dart, T. (1954/1978). The Interpretation of Music. Hutchinson, London. ISBN 0-09-031684-3.
• Dolmetsch, A. (1915/1969). The Interpretation of the Music of the Seventeenth and Eighteenth Centuries Revealed by Contemporary Evidence. University of Washington Press, Seattle & London. ISBN 0-295-78578-0.
• Donnington, R. (1973). A Performer's Guide to Baroque Music. Faber & Faber, London.
• Donnington, R. (1974). The Interpretation of Early Music. New Version. Faber & Faber, London. ISBN 0-571-04789-0.
• Donnington, R. (1982). Baroque Music: Style and Performance. Faber Music, London. ISBN 0-571-10041-4.
• Duffin, R.W. (200), ed. Performer's Guide to Medieval Music. Early Music American Performer's Guide to Early Music. Indiana University Press, Bloomington. ISBN-10: 0253337526, ISBN-13: 978-0253337528.
• Haskell, H. (1988). The Early Music Revival: A History. London.
• Haynes, B. (2007). The End of Early Music: A Period Performer's History of Music for the Twenty-First Century. Oxford University Press, USA. ISBN-10: 0195189876, ISBN-13: 978-0195189872.
• Jackson, R. (2005). Performance Practice: a Dictionary-Guide for Musicians. Routledge, Abington & New York.
• Kelly, M.J., ed. (1998). The Encyclopedia of Aesthetics. Oxford University Press, New York. [4 volumes.]
• Kenyon, N., ed. (1988). Authenticity and Early Music. Oxford.
• Kivy, P. (1995). Authenticities. Cornell University Press, Ithaca.
• Leech-Wilkinson, D. (2002). The Modern Invention of Medieval Music. Cambridge University Press, Cambridge. ISBN-13: 9780521818704, ISBN-10: 0521818702.
• Mather, B.B. (1973). Interpretation of French Music From 1675 to 1775 for Woodwind and Other Performers. McGinnis & Marx, New York.
• McGee, T.J. (1985). Medieval and Renaissance Music. A Performer's Guide. Univeristy of Toronto Press, Toronto, Buffalo & London. ISBN 0-8020-2531-5.
• Montgomery, D. (1996). Historical Information for Musicians. Kings Music, Huntingdon.
• Phillips, E.V. & J.-P. C. Jackson (1986). Performing Medieval and Renaissance Music: an Introductory Guide. Schirmer. ISBN 0-02-871790-2.
• Parish, C. (1959). The Notation of Early Music. Pendragon Press. ISBN 0-918728-08-8.
• Polk, K. German Instrumental Music of the Late Middle Ages: Players, Patrons and Performance Practice. Cambridge University Press, Cambridge. ISBN 0-521-38521-0.
• Rastall, R. (1982). The Notation of Western Music. St Martin's Press, London. ISBN 0-312-57963-2.
• Rowland-Jones, A. (1992). Playing Recorder Sonatas: Interpretation and Technique. Oxford University Press, Oxford.
• Rowland-Jones, A. (1995). Playing Recorder Duets: A Guide to the Repertoire for Two Unaccompanied Recorders. Allegro, Bristol.
• Rowland-Jones, A. (2003). A Practice Book for the Treble Recorder. Edn 2. Ruxbury, Hebden Bridge.
• Shermann, B.D. (1998). Authenticity in musical performance. In Kelly (1998).
• Spanhove, B. (2000). The Finishing Touch of Ensemble Playing: A Flanders Recorde Quartet Guide for Recorder Players and Teachers. Alamire, Peer
• Taruskin, R. (1995). Text & Act. Essays on Music and Performance. Oxford University Press, New YOrk, London. ISBN 0-19-509437-9 (cloth); 0-19-509458-I (paper).
• Veilhan, J-C. (1979). The Rules of Musical Intepretation in the Baroque Era (17th – 18th centuries) Common to all Instruments. Leduc, Paris. ISBN 2-856689-008-3.
• Vinquist, M. & N. Zaslaw. (1971). Performance Practice: a Bibliography. Norton, New York. ISBN 0-393-02148-3 (cloth); ISBN 0-393-00550-X (paper).
• Waitzman, D. (1978). The Art of Playing the Recorder. AMS Press, New York.
• Wollitz, K. (1982). The Recorder Book. Knopf, New York.

Ornamentation

• Bali, J. (2005). A Baroque Ornamentation Tutor for the Recorder. Edition Musica Budapest, Budapest. ISBN: 1423400461.
• Blood, B. (2005-). Music Theory Online: Ornamenation. Last Accessed 24 July 2005.
• Bowman, P. (1999). Ornaments in the works of Pierre Danican-Philidor. Recorder Education Journal 5.
• Brown, H.M. (1976). Embellishing 16th-century Music. Oxford University Press, London. ISBN 0-19-323175-I.
• Emery, W. (1953). Bach's Ornaments. Novello, Sevenoaks.
• Haas, E. (1998). The Grammar of Ornament: Ornamentation and Embellishment in the Late Baroque. Von Huene Workshop, Boston.
• Lander, N.S. (1996-). Vibrato and Tremolo on the Recorder. Last Accessed 24 July 2005.
• Lasocki, D. (1988). Late baroque ornamentation: philosophy and guidelines. American Recorder 29 (1): 7–10.
• Lasocki, D. (1999). The philosophy of baroque ornamentation. Recorder Education Journal 5.
• Legêne, E. & D. Lasocki (1999). Learning to ornament Handel's sonatas through the composer's ears. Recorder Education Journal 5.
• Linde, H-M. (1958). Kleine Anleitung zum Verzieren Alter Musik. Edition Schott 4758, Mainz.
• Lloyd-Watts, V. & C.L. Bigler (1995). Ornamentation: a Question and Answer Manual. Alfred Publishing Co., New York. ISBN 0882845497
• Mather, B.B. (1973). Interpretation of French Music From 1675 to 1775 for Woodwind and Other Performers. McGinnis & Marx, New York.
• Mather, B.B. (?). Developing baroque ornamentation skills. Recorder Education Journal 5.
• Mather, B.B. & Lasocki, D. (1976). Free Ornamentation in Woodwind Music 1700-1775. An Anthology with Introduction. McGinnis & Marx, New York.
• Matharel, P. (1997). The Art of Diminution in the XVIth and XVIIth Centuries. Vol. 1. Bärenreiter 51102243. United Music Publishers UNI48135. Billaudot
• McGee, T. (2003), ed. Improvisation in the Arts of the Middle Ages and the Renaissance. Eary Drama, Art and Music Monograph Series 30. Medieval Institute Publications & Western Michigan University, Kalamazoo. ISBN 1580440452.
• Moens-Haenen, G. (1988). Das Vibrato in der Musik des Barock. Akademische Druck-u. Verlagsanstalt, Graz.
• Montgomery, D. (2003). The Vibrato Thing. Last Accessed 24 July 2005.
• Neumann, F. (1983). Ornamentation in Baroque and Post-Baroque Music with Special Emphasis on J.S. Bach. Princeton University Press, New Jersey.
• Rangel-Ribeiro, V. (1981). Baroque Music. A Practical Guide for the Performer. Schirmer Books, New York. ISBN 0-020871980-8.
• Roseman, R. (1975). Baroque ornamentation. Journal of The International Double Reed Society 3.
• Schalk Nagel, R. (1993). Baroque Ornamentation: An Introduction. Journal of the Internatonal Double Reed Society 16
• Veilhan, J-C. (1979). The Rules of Musical Intepretation in the Baroque Era (17th – 18th centuries) Common to all Instruments. Leduc, Paris. ISBN 2-856689-008-3.

Rhetoric, the Affections & Musical Metaphor

• Bartel, D. (1997). Musica Poetica: Musical-Rhetorical Figures in German Baroque Music. University of Nebraska Press, Lincoln. ISBN-10: 0803212763, ISBN-13: 978-0803212763.
• Coomber, D. (1985). Rhetoric and affect in baroque music. The Recorder 3: 23-27.
• Higginbottom, E. (1975). Sonate, que me veux-tu? Classical French music and the theory of imitation. In French Music and the Fitzwilliam. Fitzwilliam Museum, Cambridge.
• Lasocki, D. (1978). Quantz and the passions, theory and practice. Early Music 6(4): 556-567.
• Ranum, P. (2001). The Harmonic Orator: the Phrasing and Rhetoric of the Melody in French Baroque Airs. Pendragon, Hillsdale. ISBN 1576470229.
• Tarling, J. (2004). The Weapons of Rhetoric: A Guide for Musicians and Audiences. Corda Music Publications, St Albans.
• Silvae Retoricae: The Forest of Rhetoric, intended to help beginners, as well as experts, make sense of rhetoric, both on the small scale (definitions and examples of specific terms) and on the large scale (the purposes of rhetoric, the patterns into which it has fallen historically as it has been taught and practiced for 2000+ years), from Gideon O. Burton (USA)
• Musica Poetica, web-site devoted to musica poetica, the synergistic interrelationship of music, rhetoric, and oratory that flowered in the 17th and 18th centuries; includes pointers to many useful resources
• Book review: 'Musica Poetica: Musical-Rhetorical Figures in German Baroque Music', by Dietrich Bartel, University of Nebraska Press, Lincoln (1997). Review by George J. Buelow, from Journal of Seventeenth-Century Music
• Rhetoric and baroque opera seria, article by Eric T. Lam
• Musical interpretation principles for the understanding of musical work as an object of interpretation, by Francisco Monteiro (UK), addresses the need for methodologies that can be used on the comprehension of musical works, with special reference to musical performance.
• 'Re-inventing wheels': Joshua Rifkin on interpretation and rhetoric, from Inside Early Music: Conversations with performers by Bernard D. Sherman
• Lyrica Society for Word-Music Relationships
• Book review: Baroque Music Today: Music As Speech: Ways to a New Understanding of Music by Nikolaus Harnoncourt, Mary O'Neill (translator), Reinhard G. Pauly (Editor). Review by Matthew Westphal, from amazon.com
• J.S.Bach: The Brandenburg Concertos, A new Interpretation, by Philipp Pickett (UK)

Tempo, Rhythm & Rhythmic Adjustment

• Blood, B. (2005-). Music Theory Online: Rhythmic Variety. Last Accessed 24 July 2005.
• Hefling, S.E. (1993). Rhythmic Alteration in Seventeenth- and Eighteenth-Century Music: Notes Inégales and Overdotting. Schirmer Books: New York; Macmillan: Toronto.
• Houle, G. (1987/2000). Meter in Music 1600-1800. Indiana University Press, Bloomington. ISBN: 0253337925.
• Ranum, P. (1981). A Glossary of French "Terms of Movement".
• Rubingh, M. (2000). Rhythm in Baroque Music. Last accessed 24 July 2005.

Tuning & Temperament

• Barbour, J.M. (1953/2004). Tuning and Temperament: A Historical Survey. Michigan State College Press,East Lansing; Dover, ISBN-10: 0486434060, ISBN-13: 978-0486434063.
• Duffin, R.W. (2006). How Equal Temperament Ruined Harmony and Why You should Care. Norton. ISBN-10: 0-393-06227-9; ISBN-13: 978-0-393-06227-4.
• Haynes, B. (2002). A History of Performing Pitch. The Story of "A". Scarecrow Press, Lanham, Maryland & Oxford. ISBN 0-8108-4185-1.